Scaling And Polishing Quotes

Women are like handfuls of sand. They all rub up under your scales now and then, but the finest ones do put a polish on a man.

An Egyptian Pulled Glass Bottle In The Shape Of A Fish" Here we have thirst and patience, from the first, and art, as in a wave held up for us to see in its essential perpendicularity; Not brittle but intense--the spectrum, that spectacular and humble animal the fish, whose scales turn aside the sun's sword with their polish.

A Faint Music by Robert Hass Maybe you need to write a poem about grace. When everything broken is broken, and everything dead is dead, and the hero has looked into the mirror with complete contempt, and the heroine has studied her face and its defects remorselessly, and the pain they thought might, as a token of their earnestness, release them from themselves has lost its novelty and not released them, and they have begun to think, kindly and distantly, watching the others go about their days— likes and dislikes, reasons, habits, fears— that self-love is the one weedy stalk of every human blossoming, and understood, therefore, why they had been, all their lives, in such a fury to defend it, and that no one— except some almost inconceivable saint in his pool of poverty and silence—can escape this violent, automatic life’s companion ever, maybe then, ordinary light, faint music under things, a hovering like grace appears. As in the story a friend told once about the time he tried to kill himself. His girl had left him. Bees in the heart, then scorpions, maggots, and then ash. He climbed onto the jumping girder of the bridge, the bay side, a blue, lucid afternoon. And in the salt air he thought about the word “seafood,” that there was something faintly ridiculous about it. No one said “landfood.” He thought it was degrading to the rainbow perch he’d reeled in gleaming from the cliffs, the black rockbass, scales like polished carbon, in beds of kelp along the coast—and he realized that the reason for the word was crabs, or mussels, clams. Otherwise the restaurants could just put “fish” up on their signs, and when he woke—he’d slept for hours, curled up on the girder like a child—the sun was going down and he felt a little better, and afraid. He put on the jacket he’d used for a pillow, climbed over the railing carefully, and drove home to an empty house. There was a pair of her lemon yellow panties hanging on a doorknob. He studied them. Much-washed. A faint russet in the crotch that made him sick with rage and grief. He knew more or less where she was. A flat somewhere on Russian Hill. They’d have just finished making love. She’d have tears in her eyes and touch his jawbone gratefully. “God,” she’d say, “you are so good for me.” Winking lights, a foggy view downhill toward the harbor and the bay. “You’re sad,” he’d say. “Yes.” “Thinking about Nick?” “Yes,” she’d say and cry. “I tried so hard,” sobbing now, “I really tried so hard.” And then he’d hold her for a while— Guatemalan weavings from his fieldwork on the wall— and then they’d fuck again, and she would cry some more, and go to sleep. And he, he would play that scene once only, once and a half, and tell himself that he was going to carry it for a very long time and that there was nothing he could do but carry it. He went out onto the porch, and listened to the forest in the summer dark, madrone bark cracking and curling as the cold came up. It’s not the story though, not the friend leaning toward you, saying “And then I realized—,” which is the part of stories one never quite believes. I had the idea that the world’s so full of pain it must sometimes make a kind of singing. And that the sequence helps, as much as order helps— First an ego, and then pain, and then the singing

I washed walls, polished door knobs and the tiny window. The scales and stench of defeat floated into the pail’s dirty water.

The word “fractal” was coined in 1975 by the Polish/French/American mathematician, Benoît Mandelbrot (b. 1924), to describe shapes which are detailed at all scales.

Reality, at first glance, is a simple thing: the television speaking to you now is real. Your body sunk into that chair in the approach to midnight, a clock ticking at the threshold of awareness. All the endless detail of a solid and material world surrounding you. These things exist. They can be measured with a yardstick, a voltammeter, a weighing scale. These things are real. Then there’s the mind, half-focused on the TV, the settee, the clock. This ghostly knot of memory, idea and feeling that we call ourself also exists, though not within the measurable world our science may describe. Consciousness is unquantifiable, a ghost in the machine, barely considered real at all, though in a sense this flickering mosaic of awareness is the only true reality that we can ever know. The Here-and-Now demands attention, is more present to us. We dismiss the inner world of our ideas as less important, although most of our immediate physical reality originated only in the mind. The TV, sofa, clock and room, the whole civilisation that contains them once were nothing save ideas. Material existence is entirely founded on a phantom realm of mind, whose nature and geography are unexplored. Before the Age of Reason was announced, humanity had polished strategies for interacting with the world of the imaginary and invisible: complicated magic-systems; sprawling pantheons of gods and spirits, images and names with which we labelled powerful inner forces so that we might better understand them. Intellect, Emotion and Unconscious Thought were made divinities or demons so that we, like Faust, might better know them; deal with them; become them. Ancient cultures did not worship idols. Their god-statues represented ideal states which, when meditated constantly upon, one might aspire to. Science proves there never was a mermaid, blue-skinned Krishna or a virgin birth in physical reality. Yet thought is real, and the domain of thought is the one place where gods inarguably ezdst, wielding tremendous power. If Aphrodite were a myth and Love only a concept, then would that negate the crimes and kindnesses and songs done in Love’s name? If Christ were only ever fiction, a divine Idea, would this invalidate the social change inspired by that idea, make holy wars less terrible, or human betterment less real, less sacred? The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.

felt I was getting, on; not lying the stagnant prey of mould and rust, but polishing my faculties and whetting them to a keen edge with constant use. Experience of a certain kind lay before me, on no narrow scale.

All great, simple images reveal a psychic state. The house, even more than the landscape, is a "psychic state," and even when reproduced as it appears from the outside, it bespeaks intimacy. Psychologists generally, and Francoise Minkowska in particular, together with those whom she has succeeded interesting in the subject, have studied the drawing of houses made by children, and even used them for testing. Indeed, the house-test has the advantage of welcoming spontaneity, for many children draw a house spontaneously while dreaming over their paper and pencil. To quote Anne Balif: "Asking a child to draw his house is asking him to reveal the deepest dream shelter he has found for his happiness. If he is happy, he will succeed in drawing a snug, protected house which is well built on deeply-rooted foundations." It will have the right shape, and nearly always there will be some indication of its inner strength. In certain drawings, quite obviously, to quote Mme. Balif, "it is warm indoors, and there is a fire burning, such a big fire, in fact, that it can be seen coming out of the chimney." When the house is happy, soft smoke rises in gay rings above the roof. If the child is unhappy, however, the house bears traces of his distress. In this connection, I recall that Francoise Minkowska organized an unusually moving exhibition of drawings by Polish and Jewish children who had suffered the cruelties of the German occupation during the last war. One child, who had been hidden in a closet every time there was an alert, continued to draw narrow, cold, closed houses long after those evil times were over. These are what Mme. Minkowska calls "motionless" houses, houses that have become motionless in their rigidity. "This rigidity and motionlessness are present in the smoke as well as in the window curtains. The surrounding trees are quite straight and give the impression of standing guard over the house". Mme. Minkowska knows that a live house is not really "motionless," that, particularly, it integrates the movements by means of which one accedes to the door. Thus the path that leads to the house is often a climbing one. At times, even, it is inviting. In any case, it always possesses certain kinesthetic features. If we were making a Rorschach test, we should say that the house has "K." Often a simple detail suffices for Mme. Minkowska, a distinguished psychologist, to recognize the way the house functions. In one house, drawn by an eight-year-old child, she notes that there is " a knob on the door; people go in the house, they live there." It is not merely a constructed house, it is also a house that is "lived-in." Quite obviously the door-knob has a functional significance. This is the kinesthetic sign, so frequently forgotten in the drawings of "tense" children. Naturally, too, the door-knob could hardly be drawn in scale with the house, its function taking precedence over any question of size. For it expresses the function of opening, and only a logical mind could object that it is used to close as well as to open the door. In the domain of values, on the other hand, a key closes more often than it opens, whereas the door-knob opens more often than it closes. And the gesture of closing is always sharper, firmer, and briefer than that of opening. It is by weighing such fine points as these that, like Francoise Minkowska, one becomes a psychologist of houses.

She raises her arms in an effort to hook at the nape of her neck a gown of black veiling. She cannot: no, she cannot. She moves backwards towards me mutely. I raise my arms to help her: her arms fall. I hold the websoft edges of her gown and drawing them out to hook them I see through the opening of the black veil her lithe body sheathed in an orange shift. It slips its ribbons of moorings at her shoulders and falls slowly: a lithe smooth naked body shimmering with silvery scales. It slips slowly over the slender buttocks of smooth polished silver and over their furrow, a tarnished silver shadow.... Fingers, cold and calm and moving.... A touch, a touch.

It would be better if we were high up on one of the peaks in the Beors, where only a dragon could fly, he said to Saphira. Then no one would be able to sneak up on us, no one except for Thorn, Murtagh, or some other magician. Some other magician, like every elf in the land? Besides, it would be cold all the time! I thought you didn’t mind the cold. I don’t. But I don’t want to live in the snow year-round either. Sand is better for your scales; Glaedr told me. It helps polish them and keep them clean. Mmh.

Indigenous cultures around the world have long accepted the concept of “two-spirit” people: those who embody both feminine and masculine identities or whose gender is more complicated than one of two options.12 There were periods of time in history when the constructs of race looked considerably different. Irish folks were not enfolded into Whiteness when they arrived in America; neither were the Polish or Italians.13 These elements of our identities are socially constructed and transmitted through a multitude of vehicles, including family, community, and culture. But no vehicle has been as potent in shaping our perceptions of bodies on a global scale as the vehicle of media.

On the playground, “cooties” seems harmless and innocuous (unless you’ve been on the other end of that game). But sociomoral disgust can quickly scale up in intensity and become the engine behind the very worst of human atrocities. During times of social stress or chaos, those persons or populations already associated with disgust properties will provide the community a location of blame, fear, and paranoia. In short, sociomoral disgust is implicated in the creation of monsters and scapegoats, where outgroup members are demonized and selected for exclusion or elimination. As David Gilmore writes in his book Monsters, a monster is “the demonization of the ‘Other’ in the image of the monster as a political device for scapegoating those whom the rules of society deem impure or unworthy - the transgressors and deviants.” These deviants are considered to be “deformed, amoral, [and] unsocialized to the point of inhumanness.” Take, for an example, the Nazi propaganda film The Eternal Jew, where an early shot in the film showed rats emerging from a sewer juxtaposed with a crowd of Jewish persons in a Polish city. In America, as another example, proponents of anti-gay legislation have circulated pamphlets claiming that gay men eat human feces and drink human blood. In each of these instances, sociomoral disgust is used to demonize and scapegoat populations, creating “monsters” who are threatening to society.

The Grocers'! oh the Grocers'! nearly closed, with perhaps two shutters down, or one; but through those gaps such glimpses! It was not alone that the scales descending on the counter made a merry sound, or that the twine and roller parted company so briskly, or that the canisters were rattled up and down like juggling tricks, or even that the blended scents of tea and coffee were so grateful to the nose, or even that the raisins were so plentiful and rare, the almonds so extremely white, the sticks of cinnamon so long and straight, the other spices so delicious, the candied fruits so caked and spotted with molten sugar as to make the coldest lookers-on feel faint and subsequently bilious. Nor was it that the figs were moist and pulpy, or that the French plums blushed in modest tartness from their highly-decorated boxes, or that everything was good to eat and in its Christmas dress; but the customers were all so hurried and so eager in the hopeful promise of the day, that they tumbled up against each other at the door, crashing their wicker baskets wildly, and left their purchases upon the counter, and came running back to fetch them, and committed hundreds of like mistakes, in the best humor possible; while the Grocer and his people were so frank and fresh that the polished hearts with which they fastened their aprons might have been their own, worn outside for general inspection, and for Christmas daws to peck at if they chose.

At the Fishhouses Although it is a cold evening, down by one of the fishhouses an old man sits netting, his net, in the gloaming almost invisible, a dark purple-brown, and his shuttle worn and polished. The air smells so strong of codfish it makes one's nose run and one's eyes water. The five fishhouses have steeply peaked roofs and narrow, cleated gangplanks slant up to storerooms in the gables for the wheelbarrows to be pushed up and down on. All is silver: the heavy surface of the sea, swelling slowly as if considering spilling over, is opaque, but the silver of the benches, the lobster pots, and masts, scattered among the wild jagged rocks, is of an apparent translucence like the small old buildings with an emerald moss growing on their shoreward walls. The big fish tubs are completely lined with layers of beautiful herring scales and the wheelbarrows are similarly plastered with creamy iridescent coats of mail, with small iridescent flies crawling on them. Up on the little slope behind the houses, set in the sparse bright sprinkle of grass, is an ancient wooden capstan, cracked, with two long bleached handles and some melancholy stains, like dried blood, where the ironwork has rusted. The old man accepts a Lucky Strike. He was a friend of my grandfather. We talk of the decline in the population and of codfish and herring while he waits for a herring boat to come in. There are sequins on his vest and on his thumb. He has scraped the scales, the principal beauty, from unnumbered fish with that black old knife, the blade of which is almost worn away. Down at the water's edge, at the place where they haul up the boats, up the long ramp descending into the water, thin silver tree trunks are laid horizontally across the gray stones, down and down at intervals of four or five feet. Cold dark deep and absolutely clear, element bearable to no mortal, to fish and to seals . . . One seal particularly I have seen here evening after evening. He was curious about me. He was interested in music; like me a believer in total immersion, so I used to sing him Baptist hymns. I also sang "A Mighty Fortress Is Our God." He stood up in the water and regarded me steadily, moving his head a little. Then he would disappear, then suddenly emerge almost in the same spot, with a sort of shrug as if it were against his better judgment. Cold dark deep and absolutely clear, the clear gray icy water . . . Back, behind us, the dignified tall firs begin. Bluish, associating with their shadows, a million Christmas trees stand waiting for Christmas. The water seems suspended above the rounded gray and blue-gray stones. I have seen it over and over, the same sea, the same, slightly, indifferently swinging above the stones, icily free above the stones, above the stones and then the world. If you should dip your hand in, your wrist would ache immediately, your bones would begin to ache and your hand would burn as if the water were a transmutation of fire that feeds on stones and burns with a dark gray flame. If you tasted it, it would first taste bitter, then briny, then surely burn your tongue. It is like what we imagine knowledge to be: dark, salt, clear, moving, utterly free, drawn from the cold hard mouth of the world, derived from the rocky breasts forever, flowing and drawn, and since our knowledge is historical, flowing, and flown.

FROM OTHER SOURCES Pre–race and Venue Homework Get hold of any history of past events at the venue, plus any information that the conducting club may have about weather and expected conditions. Go to the weather bureau and get history for the area. Speak to sailors from your class who have this venue as their home club or who have sailed there on a number of occasions. Boat, Sails, Gear Preparation Checklist Many times the outcome of a race is as dependent on what you have done prior to the race as to what you do out on the course. Sometimes no matter how good your tactics and strategy are a simple breakage could render all that useless. Hull – make sure that your hull is well sanded and polished, centreboard strips are in good condition, venturis if fitted are working efficiently, buoyancy tanks are dry and there are no extraneous pieces of kit in your boat which adds unwanted weight. Update any gear that looks tired or worn especially control lines. Mast, boom and poles – check that all halyards, stays and trapeze wires are not worn or damaged and that pins are secure, knots tight and that anything that can tear a sail or injure flesh is taped. Mark the full hoist position on all halyards. Deck hardware – check all cam cleats for spring tension and tape anything that may cause a sail tear or cut legs hands and arms. Check the length of all sheets and control lines and shorten anything that is too long. This not only reduces weight but also minimises clutter. Have marks on sheets and stick or draw numbers and reference scales for the jib tracks, outhaul and halyards so that you can easily duplicate settings that you know are fast in various conditions. Centreboard and rudder – ensure that all nicks and gouges are filled and sanded and the surfaces are polished and most importantly that rudder safety clips are working. Sails – select the correct battens for the day’s forecast. Write on the deck, with a china graph pencil, things like the starting sequence, courses, tide times and anything else that will remind you to sail fast. Tools and spares – carry a shackle key with screwdriver head on your person along with some spare shackles and short lengths of rope or different diameters. A tool like a Leatherman can be very useful to deal with unexpected breakages that can occur even in the best prepared boat.

The first time the power of art pulled the rug out from under me, I was nineteen years old. It was the early 1970s. I was in Europe for the first time, on my way through Paris to Warsaw with my Polish girlfriend, on a bizarre quest to sell blue jeans behind the Iron Curtain. On that day, during my first pilgrimage to the Louvre, I laid eyes on a painting that seemed the sum of all things. It was a cosmographic perpetual motion machine, a purgatorial charnel house—as far from the warmth of any human sun as anything I’d ever beheld. The moment I saw it, something like Krakatoa went off within me. That painting was Théodore Géricault’s The Raft of the Medusa. Standing before it, I felt the gravitational field of my life shift forever. The Raft of the Medusa is massive in scale, yet its subject matter is as simple as cows in a field, bathers by a river, or a birth in a manger. We see a large raft bearing a crowd of male figures, at the mercy of heaving seas. Their poses suggest a classical frieze, like Elgin marbles from hell—a collective ash heap of individually vivisected souls stripped bare of humanity. Each of the men is marked by a distinct, unforgettable gesture. Some are reckoning with their wounds; others seem to be coming to terms with death; some seem closer to damnation than to life. Every one of them appears hopeless. Our eyes are compelled by shafts of flickering phosphorescent light that rake at angles across the figures in the painting’s foreground, tracing its dark pyramidal structure. It’s a vision of jagged complexity and somehow also of profound grandeur.

foot soldiers with him, so he probably wasn’t bringing down a scale. When a scale came down the mountain, a captain would come himself and pick someone personally to bestow a “gift” in a display of yet another perverse power the army had over their lives. Caleb had seen the people around him throw themselves at the captains, any captains, to try to win their favor in case they found themselves in possession of a scale. He’d seen mothers send their daughters to flirt with captains; he’d seen children scrubbing boots; he’d seen old men with gnarled knuckles polishing armor. Caleb didn’t do that. He wasn’t clinging to his pride, no matter how many people accused him of holding himself higher than the rest of them. He didn’t believe in false hope; he’d seen the pattern too many times to think it made a difference. The captains would take all that adulation and desperation and use it all up, and then they’d choose whoever they wanted anyway. A few times, a favorite lover would win a scale, but the price wasn’t worth the reward. Besides, this time, the captain was clearly there looking for workers, not favors. He directed his men through the crowd, picking out a few kids (especially girls) for “kitchen staff,” according to the soldiers, though the worried looks on the faces of every mother in the camp had Caleb wondering which kitchen the girls would tend—the army’s or the dragons’. Caleb could see that the soldiers were looking for more than maids as they picked through the crowd, scrutinizing anyone who looked remotely able-bodied—though the refugees obviously offered slim pickings. Years

Aurelia plunged headfirst into a white expanse of emptiness. There was no time to close her eyes. After a single aching heartbeat, a great shape appeared, looming below. It was an impossible shape, woven out of shifting light, shimmering, polished scales, and wickedly spread blades reaching out towards her. There was a jolt. There was pain. Then there was nothing.

The American Works Progress (later Projects) Administration, founded in 1935 to provide jobs for “employable workers” during the Great Depression, established the Mathematical Tables Project in 1938 as one of its “small useful projects.” Useful it was, but hardly small: it was one of the largest-scale computing operations in the pre-ENIAC age, headed by a Polish-born mathematician, Gertrude Blanch, who supervised 450 clerks.18 Just as de Prony had learned a lesson from Adam Smith, Blanch took her cue from Henry Ford—she gave each group of workers a single task: some did only addition, some only subtraction. The best were trusted with long division. The resulting tables of logarithms and other functions were published in twenty-eight volumes; in some of them, no one to this day has discovered a single error.

Two eyes rose up before him. Bronze, they were, brighter than polished shields, glowing with their own heat, burning behind a veil of smoke rising from the dragon's nostrils. The light of Quentyn's torch washed over scales of dark green, the green of moss in the deep woods at dusk, just before the last light fades. Then the dragon opened its mouth, and light and heat washed over them. Behind a fence of sharp black teeth he glimpsed the furnace glow, the shimmer of a sleeping fire a hundred times brighter than his torch.

Emails, more and more emails. And with them, more requests for advice. My blog is slowly becoming an outpatient clinic. The scale of the problem: in the past few months, I’ve been contacted by six Polish mothers living in Great Britain, who heard that this blog exists. It looks like there are many more autistic children in need of help than I would have imagined.

Six million Polish citizens died in that war. The scale of the death and the suffering is unimaginable to our modern-day minds.